Writing and Communication Skills

What will be the most appropriate word from the options given for 4 ? Turning out concise, cliched paragraphs, with little 1_ but at high speed, is a talent that is greatly prized by news agencies-along with a stomach for filthy tea and the ability to work round the clock. Nothing will kill off a natural writing gift quite so well as a __2__ news agency training.

What will be the most appropriate word from the options given for 1 ? Turning out concise, cliched paragraphs, with little 1_ but at high speed, is a talent that is greatly prized by news agencies-along with a stomach for filthy tea and the ability to work round the clock. Nothing will kill off a natural writing gift quite so well as a __2__ news agency training.

Which of the following statements is true about reading speed?

Directions: Read the passage below and answer the question given underneath.

Passage

There is another interesting fact about eye movement. If you record the eye movements of someone who is reading, you will notice that, from time to time, the reader goes back and looks again at something he has read before; in other words, he regresses to an earlier part of the text, probably because he realises he does not understand the passage properly. Then he comes back to where he left off and continues reading. At one time, it was thought that regression was a fault, but it is in fact a very necessary activity in efficient reading. There are several different kinds of faults in reading, which are usually more exaggerated with foreign learners. The most common one is that most people read more slowly than they should. There is no rate at which people ought to read of course; it, depends on your purpose in reading, how difficult the language is, how unfamiliar the material and so on. But most people read everything at the same slow speed, and do not seem to realise that they can read faster or slower as required. Other people say the words to themselves, or move their lips - these habits slow the reader down to something near speaking speed, which is, of course, much slower than reading speed. Another habit which can slow you down is following the line with your finger, or with a pen.
If you want to be able to read faster, the secret is simply to practise under timed conditions. This means that you should give yourself a certain amount of time to read with understanding, and then check your time when you have finished. Students who have practised fast reading even for only an hour - a week, have shown average improvements of over 50% over a term of ten week's duration. Reading fast does not necessarily mean reading with less comprehension. In fact, students usually show a small increase in comprehension as well as a dramatic increase in speed.

What is the underlying idea of the third paragraph?

Directions: The reading passage is divided into four paragraphs. Select, from the options given, part idea of each paragraph and see whether these part ideas, taken together, lead to the main idea of the whole passage.

The temptation, to any man who is interested in ideas and primarily in literature, to put literature into the corner until he cleaned up the whole country first, is almost irresistible. Some persons have succeeded so well in this later profession of setting the house in order, and have attracted so much more attention than Arnold, that we must conclude that it is indeed their proper role, and that they have done well for themselves in laying literature aside.
Not only is the critic tempted outside of criticism. The criticism proper betrays such poverty of ideas and such atrophy of sensibility that men who ought to preserve their critical ability for the improvement of their own creative work are tempted into criticism. This is not to suggest as a corollary to this that the ‘creative’ gift is ‘higher’ than the critical.  When one creative mind is better than another, the reason often is that the better is the more critical. But the great bulk of the work of criticism could have been done by minds of the second order, and it is just these minds of the second order that are difficult to find. They are necessary for the rapid circulation of ideas. The periodical press — the ideal literary periodical — is an instrument of transport; and the literary periodical press is dependent upon the existence of a sufficient number of second-order (not ‘second rate,’ the expression is too derogatory) minds to supply its material. These minds are necessary for that ‘current of ideas,’ that ‘society permeated by fresh thought,’ of which Arnold speaks.
It is a perpetual heresy of English to believe that only the first-order mind, the Genius, the Great Man, matters; that he is solitary, and produced best in the least favourable environment, perhaps the Public School; and that it is most likely a sign of inferiority that Paris can show so many minds of the second order. If too much bad verse is published in London, it does not occur to us to raise our standards, to do anything to educate the poetasters; the remedy is, kill them off.
We quite agree that poetry is not a formula. It is part of the business of the critic to preserve tradition — where a good tradition exists. It is part of his business to see literature steadily and to see it whole; and this is eminently to see it not as consecrated by time, but to see it beyond time; to see the best work of our time and the best work of twenty-five hundred years ago with the same eyes. It is part of his business to help the poetaster to understand his own limitations. The poetaster who understands his own limitations will be one of our useful second-order minds; a good minor poet (something which is very rare) or another good critic. As for the first-order minds, when they happen, they will be none the worse off for a ‘current of ideas’; the solitude with which they will always and everywhere be invested is a very different thing from isolation, or a monarchy of death.

What is the underlying idea of the opening paragraph?

Directions: The reading passage is divided into four paragraphs. Select, from the options given, part idea of each paragraph and see whether these part ideas, taken together, lead to the main idea of the whole passage.

The temptation, to any man who is interested in ideas and primarily in literature, to put literature into the corner until he cleaned up the whole country first, is almost irresistible. Some persons have succeeded so well in this later profession of setting the house in order, and have attracted so much more attention than Arnold, that we must conclude that it is indeed their proper role, and that they have done well for themselves in laying literature aside.
Not only is the critic tempted outside of criticism. The criticism proper betrays such poverty of ideas and such atrophy of sensibility that men who ought to preserve their critical ability for the improvement of their own creative work are tempted into criticism. This is not to suggest as a corollary to this that the ‘creative’ gift is ‘higher’ than the critical.  When one creative mind is better than another, the reason often is that the better is the more critical. But the great bulk of the work of criticism could have been done by minds of the second order, and it is just these minds of the second order that are difficult to find. They are necessary for the rapid circulation of ideas. The periodical press — the ideal literary periodical — is an instrument of transport; and the literary periodical press is dependent upon the existence of a sufficient number of second-order (not ‘second rate,’ the expression is too derogatory) minds to supply its material. These minds are necessary for that ‘current of ideas,’ that ‘society permeated by fresh thought,’ of which Arnold speaks.
It is a perpetual heresy of English to believe that only the first-order mind, the Genius, the Great Man, matters; that he is solitary, and produced best in the least favourable environment, perhaps the Public School; and that it is most likely a sign of inferiority that Paris can show so many minds of the second order. If too much bad verse is published in London, it does not occur to us to raise our standards, to do anything to educate the poetasters; the remedy is, kill them off.
We quite agree that poetry is not a formula. It is part of the business of the critic to preserve tradition — where a good tradition exists. It is part of his business to see literature steadily and to see it whole; and this is eminently to see it not as consecrated by time, but to see it beyond time; to see the best work of our time and the best work of twenty-five hundred years ago with the same eyes. It is part of his business to help the poetaster to understand his own limitations. The poetaster who understands his own limitations will be one of our useful second-order minds; a good minor poet (something which is very rare) or another good critic. As for the first-order minds, when they happen, they will be none the worse off for a ‘current of ideas’; the solitude with which they will always and everywhere be invested is a very different thing from isolation, or a monarchy of death.

What is the underlying idea of the second paragraph?

Directions: The reading passage is divided into four paragraphs. Select, from the options given, part idea of each paragraph and see whether these part ideas, taken together, lead to the main idea of the whole passage.

The temptation, to any man who is interested in ideas and primarily in literature, to put literature into the corner until he cleaned up the whole country first, is almost irresistible. Some persons have succeeded so well in this later profession of setting the house in order, and have attracted so much more attention than Arnold, that we must conclude that it is indeed their proper role, and that they have done well for themselves in laying literature aside.
Not only is the critic tempted outside of criticism. The criticism proper betrays such poverty of ideas and such atrophy of sensibility that men who ought to preserve their critical ability for the improvement of their own creative work are tempted into criticism. This is not to suggest as a corollary to this that the ‘creative’ gift is ‘higher’ than the critical.  When one creative mind is better than another, the reason often is that the better is the more critical. But the great bulk of the work of criticism could have been done by minds of the second order, and it is just these minds of the second order that are difficult to find. They are necessary for the rapid circulation of ideas. The periodical press — the ideal literary periodical — is an instrument of transport; and the literary periodical press is dependent upon the existence of a sufficient number of second-order (not ‘second rate,’ the expression is too derogatory) minds to supply its material. These minds are necessary for that ‘current of ideas,’ that ‘society permeated by fresh thought,’ of which Arnold speaks.
It is a perpetual heresy of English to believe that only the first-order mind, the Genius, the Great Man, matters; that he is solitary, and produced best in the least favourable environment, perhaps the Public School; and that it is most likely a sign of inferiority that Paris can show so many minds of the second order. If too much bad verse is published in London, it does not occur to us to raise our standards, to do anything to educate the poetasters; the remedy is, kill them off.
We quite agree that poetry is not a formula. It is part of the business of the critic to preserve tradition — where a good tradition exists. It is part of his business to see literature steadily and to see it whole; and this is eminently to see it not as consecrated by time, but to see it beyond time; to see the best work of our time and the best work of twenty-five hundred years ago with the same eyes. It is part of his business to help the poetaster to understand his own limitations. The poetaster who understands his own limitations will be one of our useful second-order minds; a good minor poet (something which is very rare) or another good critic. As for the first-order minds, when they happen, they will be none the worse off for a ‘current of ideas’; the solitude with which they will always and everywhere be invested is a very different thing from isolation, or a monarchy of death.

What is the underlying idea of the fourth paragraph?

Directions: The reading passage is divided into four paragraphs. Select, from the options given, part idea of each paragraph and see whether these part ideas, taken together, lead to the main idea of the whole passage.

The temptation, to any man who is interested in ideas and primarily in literature, to put literature into the corner until he cleaned up the whole country first, is almost irresistible. Some persons have succeeded so well in this later profession of setting the house in order, and have attracted so much more attention than Arnold, that we must conclude that it is indeed their proper role, and that they have done well for themselves in laying literature aside.
Not only is the critic tempted outside of criticism. The criticism proper betrays such poverty of ideas and such atrophy of sensibility that men who ought to preserve their critical ability for the improvement of their own creative work are tempted into criticism. This is not to suggest as a corollary to this that the ‘creative’ gift is ‘higher’ than the critical.  When one creative mind is better than another, the reason often is that the better is the more critical. But the great bulk of the work of criticism could have been done by minds of the second order, and it is just these minds of the second order that are difficult to find. They are necessary for the rapid circulation of ideas. The periodical press — the ideal literary periodical — is an instrument of transport; and the literary periodical press is dependent upon the existence of a sufficient number of second-order (not ‘second rate,’ the expression is too derogatory) minds to supply its material. These minds are necessary for that ‘current of ideas,’ that ‘society permeated by fresh thought,’ of which Arnold speaks.
It is a perpetual heresy of English to believe that only the first-order mind, the Genius, the Great Man, matters; that he is solitary, and produced best in the least favourable environment, perhaps the Public School; and that it is most likely a sign of inferiority that Paris can show so many minds of the second order. If too much bad verse is published in London, it does not occur to us to raise our standards, to do anything to educate the poetasters; the remedy is, kill them off.
We quite agree that poetry is not a formula. It is part of the business of the critic to preserve tradition — where a good tradition exists. It is part of his business to see literature steadily and to see it whole; and this is eminently to see it not as consecrated by time, but to see it beyond time; to see the best work of our time and the best work of twenty-five hundred years ago with the same eyes. It is part of his business to help the poetaster to understand his own limitations. The poetaster who understands his own limitations will be one of our useful second-order minds; a good minor poet (something which is very rare) or another good critic. As for the first-order minds, when they happen, they will be none the worse off for a ‘current of ideas’; the solitude with which they will always and everywhere be invested is a very different thing from isolation, or a monarchy of death.

Which of the following could replace 'expertise' as used in the passage?

Directions: Read the following passage carefully and select the most suitable option according to the corresponding number in the passage.

Aptitude to give presentation is considered as one of the most important skills in today’s world. A good presentation leaves a formidable impact on the audience besides accomplishing the very objective it has been framed for.
The success of most presentations can be generally gauged from the audience response. The gestures of the spectators can be the best feedback of the presentation. The basic objective of the presenter is to see whether the expectations of the addressees have been fulfilled. If the presenter has achieved this objective, he has won the day!
A good presentation requires effective communication skills, subject expertise, innovativeness and charisma on the part of the presenter. The challenge gets even bigger when you address large audiences.
Audience should be engaged in the presentation by welcoming their queries and handling the same successfully. Apprehension can be concealed by inventiveness and zeal. Confidence and authority would charm the audience. 

Which of the following could replace 'sweep of things' as used in the passage?

Directions: Read the following passage carefully and select the most suitable option according to the corresponding number in the passage.

Scientists want their work represented as science – but journalists want to communicate with the public, and the main tool they have at their disposal is the story. Science, on the other hand, is less concerned with narrative than with results. Scientists speak to other scientists through their work.  Reputations are based on careful accumulation of facts, and a professional reluctance to speculate. Out here among the populace, where, as the Jimmy Stewart character says in ‘It’s a Wonderful Life’, people “do most of the working and paying and living and dying,” we communicate in the language of story. Stories need beginnings, middles, and endings.  They need tension and drama and resolution. All of these are anathema to any particular bit of science. Science only proceeds as a story in the big historical sweep of things.

Which of the following could replace 'accumulation' as used in the passage?

Directions: Read the following passage carefully and select the most suitable option according to the corresponding number in the passage.

Scientists want their work represented as science – but journalists want to communicate with the public, and the main tool they have at their disposal is the story. Science, on the other hand, is less concerned with narrative than with results. Scientists speak to other scientists through their work.  Reputations are based on careful accumulation of facts, and a professional reluctance to speculate. Out here among the populace, where, as the Jimmy Stewart character says in ‘It’s a Wonderful Life’, people “do most of the working and paying and living and dying,” we communicate in the language of story. Stories need beginnings, middles, and endings.  They need tension and drama and resolution. All of these are anathema to any particular bit of science. Science only proceeds as a story in the big historical sweep of things.

Which of the following could replace 'speculate' as used in the passage?

Directions: Read the following passage carefully and select the most suitable option according to the corresponding number in the passage.

Scientists want their work represented as science – but journalists want to communicate with the public, and the main tool they have at their disposal is the story. Science, on the other hand, is less concerned with narrative than with results. Scientists speak to other scientists through their work.  Reputations are based on careful accumulation of facts, and a professional reluctance to speculate. Out here among the populace, where, as the Jimmy Stewart character says in ‘It’s a Wonderful Life’, people “do most of the working and paying and living and dying,” we communicate in the language of story. Stories need beginnings, middles, and endings.  They need tension and drama and resolution. All of these are anathema to any particular bit of science. Science only proceeds as a story in the big historical sweep of things.

Which of the following could replace 'anathema' as used in the passage?

Directions: Read the following passage carefully and select the most suitable option according to the corresponding number in the passage.

Scientists want their work represented as science – but journalists want to communicate with the public, and the main tool they have at their disposal is the story. Science, on the other hand, is less concerned with narrative than with results. Scientists speak to other scientists through their work.  Reputations are based on careful accumulation of facts, and a professional reluctance to speculate. Out here among the populace, where, as the Jimmy Stewart character says in ‘It’s a Wonderful Life’, people “do most of the working and paying and living and dying,” we communicate in the language of story. Stories need beginnings, middles, and endings.  They need tension and drama and resolution. All of these are anathema to any particular bit of science. Science only proceeds as a story in the big historical sweep of things.